11. 文艺复兴时期创造力和科学成就顶峰:带有机械痕迹天球。(c1540-c1550) by Anonymous 高清作品[42%]

The culmination of Renaissance ingenuity and scientific achievement: Celestial sphere with traces of a mechanism. (c1540-c1550)

材质 :Celestial sphere, two large brass fretwork hemispheres joined at the equator with two sets of rings. The first set consists of five parallel horizontal rings representing the Equator, Tropics of Cancer and Capricorn, and both polar circles as well as vertical colures and meridians intersecting both poles and crossing the equator at 30 degrees. The second set consists of six rings intersecting the equatorial poles at an angle of 23.5 degrees – this angle would allow the now-missing inner terrestrial sphere to consistently point to the north and south equatorial poles of the celestial sphere. Placed atop this set of 17 rings are the 48 Ptolemaic constellations and two non-Ptolemaic ones. The Lynx (LE LYNX) located between the Great Bear and Leo and the constellation of Eridanus, depicted as a naked female figure, were both added later. The planetary symbols and series of stars up to five magnitudes are engraved on the figures of each constellation. The celestial sphere is mounted on a graduated brass meridian ring held in place by two recesses on the horizon ring. One face of the meridian is stamped with a scale of 360 degrees, and an hour-ring and index is mounted at the North Pole. A set of four brackets support the horizon ring with engraved acanthus leaf decoration and foliage, which terminate in scrolls with a pierced opening holding a peg attached to the horizon. The upper face of the horizon features an inner scale of 360 degrees divided into 12 signs for the zodiac labelled in Latin and depicted with its symbol. An outer scale depicts the Julian calendar with the names of the months stamped in Roman capital letters. The first point of Aries coincides with the 11th of March. The 12 winds are engraved at the outer edge as blowing figures. The sphere is supported by a chased-brass circular base with four grotesque human figures amongst arabesque decoration. The sphere rests on a cylindrical marble stand with minor chips consistent with age. 尺寸 :86 × 33 × 33 cm Other

文艺复兴时期创造力和科学成就顶峰:带有机械痕迹天球。(c1540-c1550)-匿名

英文名称:The culmination of Renaissance ingenuity and scientific achievement: Celestial sphere with traces of a mechanism. (c1540-c1550)-Anonymous

13. 一对意大利北部金木、苋菜、郁金香和果木镶嵌式马桶,风格朱塞佩·马吉奥利尼(GIUSEPPE MAGGIOLINI,约1790年)相似 by Italian, 18th Century 高清作品[41%]

A PAIR OF NORTH ITALIAN KINGWOOD, AMARANTH, TULIPWOOD, AND FRUITWOOD MARQUETRY COMMODES IN THE MANNER OF GIUSEPPE MAGGIOLINI (ca. 1790)

材质 :Kingwood, amaranth, tulipwood, and fruitwood marquetry 尺寸 :91.4 × 135.9 × 63.5 cm Design\\\\u002FDecorative Art

一对意大利北部金木、苋菜、郁金香和果木镶嵌式马桶,风格朱塞佩·马吉奥利尼(GIUSEPPE MAGGIOLINI,约1790年)相似-意大利,18世纪

英文名称:A PAIR OF NORTH ITALIAN KINGWOOD, AMARANTH, TULIPWOOD, AND FRUITWOOD MARQUETRY COMMODES IN THE MANNER OF GIUSEPPE MAGGIOLINI (ca. 1790)-Italian, 18th Century

17. 奥托·穆尔战后当代艺术I` by Otto Muehl 高清作品[40%]

DO-Otto Muehl  - Post-War und Zeitgenössische Kunst I
图片文件像素:4800 x 3400 px

奥托·穆尔战后当代艺术I-

-

(格罗德瑙1925年至2013年,葡萄牙蒙卡拉帕乔)
“静物”,背面签名,日期接近87年1月8日,标题为画布上丙烯酸,90 x 90厘米,镶框
比较:
奥托·穆尔,1965-1986年精选作品,维也纳休伯特·科洛克
出处:
私人收藏,德国


<。。。在这些画面前,人们应该感到震惊和流泪,但它们只是变得太美了,我在画画时看不到不幸,我感到羞愧,反而喜欢明亮颜色和物体人体轮廓。我必须考虑我把这次事故描述为失败努力。当我看着自己照片时,有时会有一种看着天堂尴尬印象。

奥托·穆尔·弗里德里希肖夫1986

20. 伯纳·维内特战后当代艺术I` by Bernar Venet 高清作品[39%]

DO-Bernar Venet  - Post-War und Zeitgenössische Kunst I
图片文件像素:4800 x 3400 px

伯纳·维内特战后当代艺术I-

-

(法国圣奥班城堡,1941年)
84弧/Désordre(12个元素),2013年,轧制钢,约。x;33.5;x;13厘米(每个元素),场地特定尺寸,(12)

艺术家证书,纽约贝纳·维内特工作室档案馆,2016年3月29日签署,并在艺术家档案馆注册,库存号为bv13ss30。

艺术家证书,纽约贝纳·维内特工作室档案馆。br>
出处:
肯斯勒工作室
诺克私人收藏,北莱茵-威斯特伐利亚,2015年在那里收购

文献:贝切尔,约瑟夫·安特努奇,伯纳尔·维内,马奎特斯,
Ed.普罗旺斯基金会,马赛2013,
封面图片和S.6-7(彩色无花果)
br>
见:
蒂埃里·达维拉、埃里克·维尔哈根、伯纳尔·维内特、雕塑、巴黎2013、
S.156f和S.224f(大幅面雕塑彩色图像,马赛勒法罗,2013)

展出:
拉普罗旺斯基金会、马赛、伯纳尔·维内特,
28.6-13.10.2013

“[…]伯纳尔·维内特(Bernar Venet)造型让人想起了最终作品原始尺寸,但同时也拥有自己雕塑真实性和完整性。这纪念性作品有很大不同。[…]就像情人们温柔耳语,威尼特娴熟们用一种无声声音独自对观众说话。

伯纳尔·维内,马奎特斯,Ed.基金会问候普罗旺斯,
参展商猫,马赛问候普罗旺斯博物馆,28岁。为公园扔了84弧线作品。这些拱门高达4.5米,由6-8根Corten钢棒组合而成,重叠并漂移开来,在混乱中错开,让游客在其中迷路并穿过。贝纳尔·维内特本人也被法罗宫公园广阔景色、地平线相交草坪绿色以及他红色雕塑草坪绿色和天空蓝色相互作用所吸引。12款84弧度Arcs-Désordre以一种特别美丽方式展示了伯纳·维内特工作方式。在他为每一件作品绘制了细致初步图纸之后,艺术家继续进行,并在以下步骤中开始使用轧制钢,他通常将其保留为未加工状态。在最终过程中,他将其塑造成模特,这些模特不仅被视为朝着大型雕塑发展一步,而且被视为一件独立小型艺术品,类似于一件珍贵珠宝

span>